







Qass_ 

Book— 























MANUAL 


FOR 

BRICKBUILDERS. 


/ 


BY 


W. D. RICHARDSON. 




Published by 

THE OHIO MINING AND MFG. CO. 
New York. 


I 900 



|l. y ot Oon<»fi»iM 3 

| V . ti.HU WtcEWEO 

SEP 26 1900 


Copy ught entry 


oLr 


/vi:30 -k ^ 


Sif'W' copy; 


U*- ii w«*( to 


\s c> ' 


OKOt# DIVISION, 

OCT 16 1900 


COPYRIGHT, 1900 
BY 

THE OHIO MINING AND MFG. CO. 


Price, 



- 50 cts. 

/ \J) O 


Printed by 

The F. W. Roberts Co., 
Cleveland. 









/ 


£££ 0 
6 3 


PREFACE. 

We have aimkVfo^ma&e this little book some- 

t, 

thing more than a pocket catalogue, illustrating 
the various forms of face brick that we manu¬ 
facture. We have endeavored to make it a 
manual of useful information for those who, like 
the author, are giving their best energies to the 
building of more comfortable, more durable and 
more artistic habitations out of burned clay—the 
only building material that possesses the strength 
and virtue to meet every requirement. 

The information given herein has been drawn 
from our own practice and observation, as well 
as from various sources of technical knowledge, 
too numerous even to mention in our limited 
space. 

We trust that this hand-book may be deemed 
worthy of preservation, and be of service to all 
who may consult it. 

Corrections or suggestions for futGre editions 
will be thankfully received. 

Shawnee, Ohio, July i, 1900. 


INDEX. 


Page. 

Abbreviations. 16 

American Bond . 68 

Arch Mouldings.22-27 

Arches.52-58 

Thickness of Joints.*. 52 

Packing.88 

Unpacking. 52 

Bay Window Brick.20-21 

Bonding of Brick.67-68 

Brick as a Building Material. 6 

Soft Mud Brick. 7 

Stiff-Mud “ . .... 8 

Dry Pressed Brick.. 8 

Repressed “ 11 

Brick and Stone . 59 

Carload—Minimum for Brick. .... 88 

Cement—Natural. 73 

Artificial. 73 

Portland. 78 

Testing.73-74 

Cement Mortar. 75 

Mixing. 76 

Quantity for 1000 Brick. 87 

Cement with Lime . 76 

Checker Work. 30 

Circle Bricks.19-20 

Cleaning Brickwork. 81 

Cornices—Cornice Mouldings. 60, 22-27 

Color of Brick. 12 

Of Mortar. 77 

System of Designating Colors.12 

Definitions. 15 

Data for Estimates. 84-87 

Efflorescence.82-83 

English Bond. 68 

Face Brick. 11 

Mortar for. 77 

Joints of. 78 

Flemish Bond. 68 


4 









































Floors of Brick ... 60 

Forms of Face Brick. 14 

Grades of Face Brick. 13 

Imperviousness. .11-12 

Jamb Brick. .22-27 

Lime. 70 

Lime Mortar . 70-72 

Lime with Cement. 76 

Mantels . 61 

Mantel Shelf Brick. 39 

Mortars—Lime. 70-72 

Cement.75-76 

Panel Brick. 80 

Panel Mouldings.28-29 

Prices of Face Brick. 88 

Projection. 15 

Process and Quality. 10 

Roofing Tile—Advantages. 65 

Requisites. 65 

Instructions for Laying. 66 

Cost. ... . 86 

Sand—Specifications . 71 

Quantity for Mortar for 1000 Bricks.. .86-87 

Sills of Brick . 60 

Stone and Brick. 59 

Striking Joints. 79 

Terra Cotta. 62 

Setting and Pointing. 63 

Cost. 85 

Thickness of Mortar Joints. 78 

Wainscots of Brick. 60 

Wetting Brick.80 


5 


































JBdcfc as a Butl&tng flDaterial. 


The increased use of clay products in building 
construction is one of the most notable and signifi¬ 
cant features of modern architecture. In America, 
especially, the closing years of the nineteenth 
century have marked a change from temporary 
and wasteful methods to those more permanent 
and economical; from the construction of build¬ 
ings of the perishable, inflammable wood, to those 
of the durable, indestructible brick. This change 
has been brought about the more readily because 
of the growing scarcity and increased cost of 
lumber, from the gradual destruction of our 
forests, as well as by reason of improvements in 
the manufacture, out of the abundant and widely 
distributed clay, of the many colored, artistic and 
durable forms of brick and terracotta. 

The rocks of the earth crumble and disintegrate, 
and the best building stones go to pieces in a 
conflagration, but a well-made, hard-burned brick 
withstands the elements and endures forever. 

This fact is now so well recognized as to need 
no argument, and thus the prophecy of the poet is 
fulfilled: 

“Beneath a surface rough or gay, 

There lies a solid worth 
Deep hidden in the earth, 

Which shall be found some day; 

Then stately buildings shall arise, 

And all mankind shall learn to prize 
The strength and virtue in the common clay.” 

6 



= = 1kin^>B of Brick * * 


Brick are classified either according to the 
method or process of making as soft-mud, stiff- 
mud or plastic, and dry pressed; or according to 
their use, as building brick—including common 
brick and pressed or face brick—paving brick, fire 
brick, etc. 


SOFT-MUD BRICK. 

Before the advent of machinery for making 
brick all brick were soft-mud brick, as this is the 
only process by which brick can be made by hand. 
Soft-mud brick are now generally made by ma¬ 
chinery, which does not much reduce the cost of 
making, but produces a better brick and requires 
less skill and less hard labor. Soft-mud brick are 
molded by using sand to keep the clay from stick¬ 
ing to the mold, and hence are often called sand- 
molded brick, the sand finish on the face of the 
brick being sometimes desired. The higher 
grades of fire brick are made by this process. 

Soft-mud brick are light and porous, make a 
good bond with mortar when well wetted, and are 
specially adapted for walls above ground, in low 
or moderately high buildings, though a well made, 
hard-burned, soft-mud brick of the right material 
is an excellent brick for almost any purpose. 
Bricklayers prefer them, because of their light 
weight, and because they are easily broken with 
the trowel. 


7 



STIFF-MUD BRICK 


The stiff-mud is a more modern process than 
the soft-mud, and differs from it in that the clay 
is worked stiffer, with less water. The clay, after 
having been ground and pugged, is forced through 
a die at the mouth of a cylinder by means of an 
auger or plunger, and issues in a solid bar of 
clay, which is cut into bricks of the required size 
by wires, and hence the brick are often designated 
wire-cut brick; and also when the section of the 
bar of clay is the same as that of the side of the 
brick they are called side-cut brick; and when the 
section of the bar is the same as the end of the 
brick they are called end-cut brick. 

The stiff-mud brick is denser and heavier than 
the soft-mud, is less absorptive and will stand a 
greater crushing strain; hence is better adapted 
for foundations and piers of tall buildings, for 
tunnels and for street pavement. 

It is by this process that drain tile and sewer 
pipe are made, and also paving brick. As stiff- 
mud brick are heavier and do not break so easily 
or squarely with trowel as soft-mud brick, brick¬ 
layers in some localities are opposed to them. 


DRY PRESSED BRICK. 

The dry-press or dry-clay process is the most 
modern method of making brick, and has reached 
its highest development in America. The clay is 
finely pulverized in a dry or semi-dry condition, 
and automatically fed into molds and subjected to 

8 


enormous pressure by large heavy steam power 
or hydraulic presses. This process is especially 
adapted to the manufacture of fine face brick, as 
it is the only practicable process for the making of 
a mechanically perfect brick. 

The dry-press process, when properly con¬ 
ducted, is the most expensive method of making 
brick, requiring a large investment of capital and 
considerable skill and knowledge to operate suc¬ 
cessfully. 

In some sections there is considerable prejudice 
against dry-pressed brick, caused by the poor 
quality of many of these brick that have been 
made, and some that are still made, by poorly 
equipped or incompetent manufacturers. A good 
dry-pressed brick is heavy, dense and homo¬ 
geneous in structure, with no grains perceptible 
to the naked eye, a perfect parallelopiped, faces 
smooth, edges sharp, burned hard, and showing a 
smooth, square fracture with hammer or trowel, 
leaving no spalls. It is not practicable to make dry- 
pressed brick strictly impervious, but the best dry- 
pressed brick are admirably adapted for the fac¬ 
ing of buildings and for fine interior work, man¬ 
tels, floors, etc. 

Most of the fine face brick in this country are 
made by this process, as are also all the fine art 
tiles, encaustic tiles and mosaic tiles. 


9 


* » process anb fijualiti? = * 


The foregoing classification of brick according to 
the process of manufacture should not be defined 
in the specifications of architects or engineers. 
The specifications should clearly state the require¬ 
ments and the tests to which the brick must be 
subjected for the special purpose for which they 
are to be used, and leave it to the manufacturer 
to meet these requirements by any process he may 
find most practicable. There should be no preju¬ 
dice for or against any process, but the specifica¬ 
tions should be such as to shut out ignorance, 
carelessness or greed, on the part of the manufac¬ 
turer by any process. No process will or should 
become universal. Each process is the best under 
certain conditions and for certain purposes. 



10 



====== jface :©rlcfe ~ = = 


Face Brick is the most accurate designation for 
brick that are made specially for the facing of 
buildings, either exterior or interior. Face brick 
are made mostly by the dry-press process, though 
a large part also are made by the stiff-mud pro¬ 
cess, being repressed to secure more perfect edges 
and special shapes. Repressed brick are not as 
perfect in texture, form or finish as the dry- 
pressed brick, but when well burned are more 
impervious to moisture, and hence are preferred 
for some purposes. 

The test for imperviousness, however, for the 
purpose of securing a wall that will keep clean in 
smoky cities, is often carried to absurd limits 
under conditions not attained in practice. A fine¬ 
grained, hard-burned dry-pressed brick will often 
keep as clean in the wall as an impervious re¬ 
pressed brick by reason of the fact that the faces 
are so much smoother. Moreover, it has been 
proved by elaborate experiments upon flooring 
tile that the absorptive power of the tile is not 
always a gauge of its power to keep clean—some 
tile that absorbed only y 1 ^ per cent getting much 
dirtier than others that absorb 1\ per cent of 
water. No brick, not even an enameled or 
glazed brick, will keep clean in a smoky 
city, though a glazed brick and some im¬ 
pervious brick can be cleaned or washed better 
than a dry-pressed brick, but as exterior brick-work 
is seldom cleaned after the building is finished, 


11 



this quality of imperviousness does not cut much 
of a figure except as an argument for selling the 
brick. 

However, imperviousness of face as indicative 
of good clay and proper manufacture is a valuable 
quality of brick that are to be used for exterior 
facing, and, other things being equal, the brick 
that will absorb the least water through its face 
is to be preferred. 

COLOR OF FACE BRICK. 

Color has in recent years become an important 
feature of brick architecture. The polychrome 
effect of the brickwork in our modern cities adds 
much to their beauty and interest. Architects 
now make a careful study of colors for each build¬ 
ing to ascertain what color will best harmonize 
with its surroundings, and how to use properly 
more than one color in the same front, and thus 
make the most of the materials so bountifully 
provided by nature in her clays. Face brick are 
now made in any color desired. 

Our system of designating colors and shades 
by numbers, I to 99 , will be understood from the 
following table: 


COLOR. 

White. 

Speckled 

White. 

Buff. 

Gray. 

Speckled 

Gray. 

Red. 

Brown. 

Pink. 

Gold 

Flashed. 

Bronze 

Flashed. 


1 

10 

20 

30 

40 

50 

60 

70 

80 

90 

NUMBERS. 

to 

to 

to 

to 

to 

to 

to 

to 

to 

to 


9 

10 

29 

39 

49 

59 

69 

79 

89 

99 


There may be ten shades of each color, the low¬ 
est number representing the lightest shade. 


12 


























GRADES 


The impossibility of producing all the brick at 
any factory of uniform quality, of preserving 
throughout the manifold operations and handl¬ 
ings in the making, setting, burning, shading, pil¬ 
ing and loading, perfection of form necessitates 
the sorting of the brick into grades according to 
the various defects that are found in them. 

We sort our brick very carefully into four 
grades, designated A, B, C and D. Grades A, B 
and C, are uniform in shade and are stored in our 
stock sheds for the facing of buildings. A grade 
brick are as near perfection as it is practicable to 
make brick; B grade brick have no defects that 
will injure the durability of the wall or mar its 
appearance above the second story; C grade brick 
are a degree less perfect than the B grade, and 
are used for the facing of cheaper buildings, or in 
less prominent places; the D grade brick are piled 
outside upon our yard and sold at common brick 
prices, being sometimes used for side or rear walls 
where it is desired to have the color harmonize 
with the front of the building. 

Brick for mantels and interior work are gener¬ 
ally extra selected A grade stock, for which an 
extra price is charged. 


*§• ir 


13 


. . jforms of jface JBvtcl?. . 


Face brick are made in a great variety of shapes 
to suit the various forms of buildings and to 
carry out special schemes of ornamentation. 
Every large manufacturer must issue a catalogue 
illustrating the various shapes that he makes, and 
he should not put into his catalogue any shapes 
that he has not made and for which he has not the 
molds ready. 

We are constantly adding to our stock of molds. 
If what you want is not shown here send us a 
sketch of the brick, or if made by another manu¬ 
facturer, specify the catalogue and number, and 
if we haven’t it in stock we will make it for you. 

Since we now make so many colors and shades, 
it is impracticable to carry in stock all shapes in 
every shade. Hence architects should allow three 
to six weeks for the making of special shapes to 
order. Moreover, it is not always possible to 
produce molded brick of exactly the same shade of 
color as the plain brick. A slight variation is 
often necessary and is not objectionable. 

The cuts in this catalogue are one-eighth size 
of brick, and the sizes named are for hard-burned 
brick made from our white clay. These sizes will 
vary somewhat with different colors and shades. 


14 



For a better understanding of the catalogue of 
Ornamental Brick, attention is called to the fol¬ 
lowing definitions and abbreviations: 


* * Definitions 


The Base of a brick is the bottom or flat surface 
upon which the brick rests or bears in the wall. 

The Face of a brick is the surface exposed to 
view in the wall. 

The Sides of a brick are the opposite surfaces 
extending at right angles to the face and base in 
wall. 

The Back of a brick is the surface opposite the 
face. 

The Top of a brick is the surface opposite the 
base in wall. 

The Ends of a brick are the smallest surfaces of 
the brick, and may form the face, back or sides in 
wall. 

The Edges of a brick are the narrow surfaces, 
the dimensions of which are generally 2 T 5 S inches 
by 8 r 3 s inches, and may form the face, top and 
base or sides of a moulded brick in wall. 

A brick may have two faces and two backs, and 
generally has two sides, two ends and two edges, 
but only one base or one top. 

The Projection of a brick is the extension of the 
top of the moulded face beyond the bottom, or 
vice versa , or is the height of the relief—the ex¬ 
tension of the ornamentation in front of the face 
of the wall. 


*5 



* abbreviations * * 


C. —Corner Block—External. 

D. —Double Return, Return on Both 

Ends or Moulded on Both Ends. 

E. —External Angle. 

F. —Face Return. 

F. I.—Face Return In. 

F. O.—Face Return Out. 

H.—Header. 

I.—Internal Angle or Circle. 

E.—Eeft Return. 

R. —Right Return. 

R. F.—Right Face Return. 

L. F.—Eeft Face Return. 

S. —Stretcher. 

T. —Starter or Terminal. 

V.—Single Mold on Stretcher. 

W.—Double Mold on Stretcher. 

X.—Mould on Header. 


Cuts in this catalogue are about % size. 

16 


\ 




Shallow flDoulh JBcxcf?. 


O •& mos. 100 to 109 


PBAXN RECTANGULAR BRICKS. 

Nos. 100 to 105. 


£ =C) 


No. 100—Standard. 
2 r 5 s x 8 r 3 g-x4 2c. 



No. 102—Norman. 
2 f 5 6xll%x4. 3c. 


No. 101—Roman. 
134x11^x4. 2^c. 



No. 103—Bond Brick. 
2 r 5 6 x8 r 3 6 x8 rV 4c. 



No. 104—10x4. 3<s. No. 105— Il%x5%. 4}^c. 

No. 104 and 105 made in Standard and Roman 
thickness for jambs and corners of Roman and 
Norman brick walls to preserve bond. 


17 





















ROUND CORNER BRICKS. 


Nos. 106 to 114. 






No. 109—T, 10c. 
Starters for round 
corners, 10c. 



No. 112—W. Bonds with 


No. 10£—W. 6c. No. 112 and No. 117. 6c. 

No. 106 Round Corner, x /i inch radius, 5c. 


ii 

107 

ii 

a 

1 

( ( 

ii 

5c. 

i t 

108 

a 

i t 


ii 

a 

5c. 

a 

109 

< i 

i i 

2 

ii 

a 

5c. 

a 

110 

a 

i t 


ii 

i i 

5c. 

a 

111 

it 

a 

3 

a 

a 

5c. 

f i 

112 

i i 

i i 

4 

i i 

a 

5c. 

i i 

118 







a 

114 



Made also Roman Size. 


18 






























CIRCLE BRICKS. 

Nos. 116 to 139. 


No. 

Diameter. 

Price, 

No. 

Radius. 

Price. 

116 

5 

inches 

6 c ’ 

126 

H 

feet, 

5c 

117 

8 

3 it 

6 ic 

127 

4 

4 < 

5c 

118 

12 

<< 

10 c 

128 

5 

4 4 

5c 



Radius, 


129 

6 

44 

5c 

119 

6 

inches 

7c 

130 

7 

4 i 

5c 

120 

8 

4 4 

5c 

131 

8 

(4 

5c 

121 

12 

U 

5c 

132 

9 

44 

5c 

122 

16 

4 4 

5c 

133 

10 

4 4 

5c 

123 

2 

feet 

5c 

134 

12 

4 4 

5c 

124 

2 i " 

5c 

135 

*16 

« 4 

6 c 

125 

3 


6 c 

136 

*24 

4 4 

6 c 


♦Made only in Roman and Norman. 

Circle brick with radius other than above, 1 cent 
each additional. Circle Brick in Roman size, 1 
cent each additional. 


l 9 
















CIRCLE BRICKS. 

For Veranda Columns 



No. 116—Diameter 
5 inches. 6c. 



No. 117—Diameter 
8 r 3 ^ inches. 6}£c. 



No. 118—Diameter 
12 inches. 10c. 



No. 119—Radius 
6 inches. 7c. 


For Circular Bays. 



No. 127—Radius 
4 feet. 5c. 



No. 121—T. 
Radius Starters, 6c. 



No. 122—I Internal No. 121—I T Starter 

Radius 16 inches. 6c. for 121-1. 7c. 


20 





































BAY WINDOW ANGLE BRICK 

Nos. 140 to 149. 


O O' 

No. 140—Angle 25°. No. 141-Angle 80°. 

5c. 5c. 



No. 144—Angle 45°. 
Standard Octagon. 5c. 



45°. 

Starter for Octagon Bays. 
Used in alternate courses 
as a binder. 6c. 

No. 140—Angle 25°, 5c. 
“ 141— “ 30°, 5c. 

“ 142— “ 35°, 5c. 

“ 143— “ 40°, 5c. 

“ 144— “ 45°, 5c. 



25c. 


6 

No. 144—Roman. 
Roman Octagon. 

6c. 

No. 145—Angle 53°, 5c. 
“ 146— “ 60°, 5c. 

“ 147—I. An. 34°, 6c. 
“ 148 “ 45°, 6c. 

“ 149 



Any angle other than above made to order—Stand¬ 
ard or Roman thickness, lc. each additional. 


21 














CORNICE, JAMB AND ARCH MOULDINGS. 



No. 160—Projection 
2 inches. 6c. 



No. 161—Projection 
234 inches. 6c. 



No. 162—Projection 
3 inches. 6c. 



No. 163 —Projection 
334 inches. 6c. 




No. 152—C. 
40c. 


22 


No. 164—Projection 
2 inches. 6c. 

























CORNICE, JAMB AND ARCH 
MOULDINGS. 



No. 155—Projection 
3 inches. 6c. 



30c. 



No. 157—Projection 3 % inches. 
6c. 


2.3 


No. 157—F I. 
30c. 

























No. 158 


CORNICE, JAMB AND ARCH 
MOULDINGS. 



No. 158 X—Projection 
1 inch. 6c. 



No. 158 V—Projection 
134 inches. 6c. 




30c. 




1 y 2 inches. 6c. 


No. 161—Projection 2 y z inches. 6%c. 

24 





































CORNICE, JAMB AND ARCH 
MOULDINGS. 





No. 163—V. Projection No. 163—X. Projection 
1 inch. 6c. 1 inch. 6c. 


25 













































CORNICE, JAMB AND ARCH 
MOULDINGS. 




No. 164—Projection 2% in. 
6 inches wide. 10c. 



75c. 




No. 165—Projection 
2 inches. 6c. 


26 


No. 166—Projection 
3J4 inches. 6c. 






















CORNICE, JAMB AND ARCH 
MOULDINGS. 



No. 167—Projection 
2 inches. 6c. 




No. 167—1. 30c. 


27 







PANEL MOULDINGS 



No. 168 S —Projection % 
inches. 8c. 




No. 168—1. 25c. 




28 






















PANEL MOULDINGS 





No. 168—W. T. 10c. 



No. 168—L. T. 10c. No. 168—R. T. 10c. 


29 
























FOR CHECKER WORK. 



No. 169—Projection 
134 inches. 6c. 



No. 170 6c. 


Made V/^ inches thick. 



30 






































































































No. 171 —H. Projection 
1 inch. 6c. 










30c. 





30c. 


3i 




















3>eep /IDoulO JBrtcft. 

•fr «* 'IWos. 200 to 200 « * 



No. 200—S. Projection 
1% inches. 8c. 



No. 200— R. 
25c. 



7c. 




No. 201— H. 
7c. 


No. 201—S. Projection 
34 inches. 8c. 


32 
























No. 202—S. Projection 
1 inch. 8c. 




No. 202 —R. 
25c. 


No. 202—L. 
25c. 



No. 203 — S. Projection 
\y 2 inches. 8c. 


33 














No. 204—S. Projection 
234 inches. 8c. 



25c. 


No. 205 —S. Projection 

1 7/t inches. 8c. 




No. 206 S.—Projection 
1 % inches. 8c. 


34 
























No. 207 S.—Projection 
% inch. 8c. 



No. 207—H. 
7c. 




No. 209—S. Projection 
% inch. 8c. 


r t 


No. 208 S.—Projection 
inch. 8c. 



7c. 



25c. 


35 







































No. 210—S. Projection 
1 inch. 8c. 


No. 210—R. 
25c. 



25c. 



No. 210—S. Roman. Projection 
%inch. 10c. 


36 











No. 211—S. Projection 
7/% inch. 8c. 



No. 211—R. 

25c. 



25c. 



No. 211—Roman. Projection 
% inch. 10c. 

















No. 212—S. Projection 
1 inch. 8c. 


No. 212— R. 
25c. 



No. 212—D. 
40c. 



No. 212—L. 
25c. 




No. 213—S. 8c. 


No. 213—H. 7c. 



No. 213—R. or L. 20c. 


38 





































No. 214 S.—Projection 
134 inches. 9c. 




For Mantel Shelves. 




No. 216—S. Projection 
34 inch. 834c. 


39 


No. 216—C. 
25c. 

































r~ 


No. 217--S. Projection 
1 inch. 9c. 


( 



No. 218—S. 
8c. 



No. 219—S. Projection 
1 inch. 834c« 


40 



























No. 220— S. Projection 
2 inches. 9c. 



No. 220—C. 
35c. 



No. 221—S. Projection 
X inches. 8>£c. 


4i 



























n 


t 

2 

s 

* 


No. 222-H. Projec- No. 222—S. 12c. 

tion 1 inch. 8c. 




No. 222—F. I. 
Double Bolster. 50c. 



No. 223-Projection 
2 inches. 


42 














































No.224-H. Projection \ inch. 
8c. 



Combination of Nos. 
171-H, 222-H and 228. 



No. 225—Projection 134 inches. 



223, 171-F. I. and 222 F. I. Double Bolster. 


43 















































































227—H. Projection 1^ 
inches. 8c. 



228 - H. Projection 
inches. 8c. 


44 


229—H Projection 1 

inch. 8c. 












































JSrtci: Ibeujbt of two Cou rses of 
** ^ •* Stan5ar& JSrxcFi «•* „* „•* 

Nos. 300 to 399. 



No. 300 S.—Projection 1*^ 
inches. 14c. 




No. 300—L. 50c. 
45 


































No. 310—S. Projection 
2J4 inches. 20c. 



No. 310—H. 12c. 



No. 310—F. I. 40c. 



No. 310—C. 75c. 


46 




















No. 311 S—Projection 
234 inches. 20c. 

No. 311—C. 75c. 



10c. 



No. 313—Projection 
lyi inches. 20c. 



12 inch round column. 


47 































Brtcft SHeicjbt of XTbree Courses 
^ J> of Stanbarb JBrtcfc 

Nos. 400 to 499. 


No. 400—Projection \]/ 2 inches. 
25c. 




No. 400 in combination to form cap 
of 12 inch round column. 


48 

























No. 400. 




Round Column, 12 inches 
diameter. 


Other designs, tapered if desired, 
made to order. 


49 




























HBricI? Ibelgbt of jfour Courses 
j» j» j» of SfaitbarD SSrtcft > j» 

Nos. 500 to 599. 



No. 500—Indian Head. 
$ 1 . 00 . 























5 1 














































Hrcbes > > 


In sending us orders for arches please observe 
the directions upon the following pages. 

If the specifications include all details we will 
make the full size drawings ourselves without 
extra charge, and will mark each brick to corres¬ 
pond with the drawing. 

When the brick are to be unpacked look first for 
the barrel containing the drawing, as indicated on 
the card attached. 

If the arch has skew-back or key of stone, full 
size drawings should be furnished us. 

Architects should consider that we often have 
several orders for arches and can follow only one 
rule—first come, first served. 

We burn most of our brick so hard that it is a 
slow and expensive process to grind them in the 
usual way, hence we generally prefer to press brick 
to required shape and burn them to match the 
square brick. This makes a better job in most 
cases, gives a smooth reveal, uniform in color 
with the face of the arch. This, however, takes 
time, and orders for arches should be sent us from 
four to eight weeks in advance of their being 
needed. 

We provide for T % inch joints for standard brick 
and ^ inch joints for Roman brick unless other¬ 
wise specified. 


52 



SEMI-CIRCULAR ARCHES 



Opening 3 ft. 6 in. 



Opening 3 ft. 6 in. 

Give the Following- Details: 

Width of opening. 

Radius. 

Depth of reveal or soffit. 

Height of face. 

Thickness of joints. 

Of plain brick, $6.00 per hundred. 

Of moulded brick, add the price of the moulded 
brick. 


53 









o o 


SEGMENT ARCHES 




Give Following Details: 


Width of opening. 

Radius. 

Depth of reveal or soffit. 

Height of face. 

Thickness of joints. 

plain brick, $6.00 per hundred. 

moulded brick add the price of the moulded brick. 


54 


■ Reveal 8" 















SEGMENT ARCHES WITH FEAT 

TOPS. 




Width of opening. 

Radius. 

Depth of reveal. 

Height of face. 

Thickness of joints. 

Of plain brick, $6.00 per hundred for all except 
the top course of brick. For the top course, $10.00 
per hundred. 

Of moulded brick, add the price of the moulded 
brick. 


55 












FI/AT ARCHES. 




Give the Following Details: 


Width of opening 
Radius. 

Reveal. 

Height of face. 

Thickness of joints. 

Only of plain brick, $10.00 per hundred. 

We make our Jack Arches of the same height as 
an even number of courses of brick in the wall 
unless otherwise specified. State how many 
courses high it is desired to have the arch. 

5 6 














GOTHIC ARCHES. 



Give Following Details: 

Width of opening. 

Rise or spring of arch. 

Radius. 

Depth of reveal. 

Height of face. 

Thickness of joints. 

Of plain brick $6.00 per hundred for all except 
brick beveled to center line; for these latter $10.00 
per hundred. 

Of moulded brick add the price of the moulded 
brick. 


57 






ELLIPTICAL ARCHES 




Give the Following Details: 

Width of opening. 

The three radii. 

Rise. 

Height of face. 

Reveal. 

Thickness of joints. 

Of plain brick, $7.00 per hundred. 

Of moulded brick add the price of the moulded 
brick. 


58 
















Briefs anfc Stone & 


The appearance of brick facings is often marred 
by the stone trimmings, though the best archi¬ 
tects to-day do not use the two materials together 
in this manner. It was formerly the almost uni¬ 
versal practice to have the sills, lintels, arches, 
as also the belt courses, cornices or other orna¬ 
mentation of brick buildings of stone. This prac¬ 
tice cannot be commended either for aesthetic or 
utilitarian reasons, and is now less common. 

The appropriate trimming for brick buildings 
is the same material—burned clay, either in the 
form or classification of brick or terracotta. Most 
building stones discolor and are acted upon by 
atmospheric agencies, and the dirt and disintegra¬ 
tions wash down upon the brickwork, seriously 
marring the appearance and destroying the color 
scheme of the architect. Moreover, in a fire, the 
brick walls would often escape serious injury 
were it not for the destruction of the stonework 
combined with it. 

Any color desired can now be obtained in brick 
and terracotta, and the unity and symmetry, as 
well as the beauty and durability, of the building 
can be secured by the use of these materials alone 
or together, both in body and trimmings. 

Not to use brick in a stone facing, nor stone in 
a brick facing, and never to attempt to make brick 
look like stone, nor stone like brick, are safe 
rules to follow. 


59 



ARCHES, SILLS AND CORNICES 


All openings in brick buildings should be arched 
with brick or terracotta made or ground at the 
factory. 

Special brick and terracotta pieces are now 
made for window sills that are preferable to stone. 

Special brick or terracotta for cornices are 
more appropriate and more durable than stone or 
metal. 


COLUMNS. 

Veranda or porch columns of a brick house 
should be of brick or terracotta. Special forms 
with any degree of ornamentation desired can be 
obtained of the face brick or terracotta manu¬ 
facturer. 


FLOORS. 

Pressed brick or tiles are used for floors of 
porches, hallways, kitchens, laundries, areas, etc., 
and are well adapted for the purpose. 


WAINSCOTS. 

Pressed brick are successfully used for wains¬ 
cots of reception halls and public rooms, kitchens, 
laundries, etc., and admirably carry out any 
scheme of color or ornamentation appropriate. 


60 


MANTELS. 


Brick mantels are now designed and specified 
by the best architects for the most expensive build¬ 
ing, as well as the humblest cottage. 

The quiet tone, restful colors and general ap¬ 
propriateness of unglazed brick for mantels is un¬ 
questioned. They can be made as simple or 
ornate as may be desired, and the brick are easily 
adapted to any scheme of decoration. They 
should be designed by the architect to harmonize 
with the room and conditions. 

Brick for mantels, both plain and ornamental, 
should be specially selected. The cost of a brick 
mantel is not high, and none but the very best 
brick should be used. Highly colored, shiny, 
glazed brick are not so agreeable for every-day 
use—one wearies of their glaring brightness. 

We make full size drawings of mantels and 
number every brick to correspond with numbers 
on the drawing, so that no mistake can be made 
in laying them up. We keep in stock a variety 
of plain and molded brick suitable for mantels, 
but only make up the mantels to order. 

Orders for mantels should be sent in three to 
six weeks before shipment is desired. 



61 


terracotta * * 


The superiority of clay as a building material 
is especially evident in the product of the manu¬ 
facturers of architectural terracotta. The 
plasticity of clay affords the artist a medium for 
producing the most delicate and elaborate orna¬ 
mentations, for making accurate and enduring 
representation of the highest conceptions of his 
brain; and also the wide range of colors of this 
material make it possible to carry out any scheme 
of decoration that may be appropriate. Moreover, 
the artist can have the satisfaction of knowing 
that in well-burned clay his creations will be not 
only more delicate than in the non-plastic stone, 
but more durable. 

For stone buildings, of course, the decorations 
should also be of stone, but for brick buildings 
the decorations should always be of brick or 
terracotta. Terracotta, however, should be re¬ 
stricted to its legitimate use of decorating a brick 
body. Terracotta blocks, made to resemble 
stone, for the body of the wall, are an offense to 
good taste. 

Another advantage of terracotta ornamentation 
over stone is its light weight and facility of bond¬ 
ing with brick—being hollow, the brickwork ex¬ 
tends into it and bonds it all into one solid sub¬ 
stantial wall. For sills and projecting courses 
terracotta, as well as the special brick that we 
make for the purpose, has the advantage of being 

62 



always made with a drip groove underneath the 
projection, that drops the water clear of the wall, 
instead of like stone, letting it follow back and 
carry all the dirt down over the brickwork. 

SETTING AND POINTING. 

Terracotta is generally set by the brick masons. 
General directions for doing this are about as 
follows: 

Set in Portland cement mortar. As soon as 
set the joints should be raked out to a depth of 
three-quarters of an inch to allow for pointing and 
to prevent chipping. The terra cotta should be 
built up in advance of the brick backing, one 
course at a time, and all the voids filled with mor¬ 
tar into which the brick are forced to bond with 
the wall. 

After the walls are up the joints should be 
pointed with Portland cement, colored to corre¬ 
spond with the terra cotta or with the same mor¬ 
tar color as was used for the joints of the brick 
facing. Sometimes chloride of Barium solution 
is mixed with the cement mortar to prevent the 
exudation of the soluble salts of the cement. 

TIME FOR MAKING. 

Stone is sometimes used where terracotta 
ought to be used, because the owner or architect 
will not wait for the terracotta. This neglect to 
place the order for face brick and terracotta, either 
because the plans are not ready,or because too much 
time has been spent in dickering about prices,is one 

63 


of the most annoying things that the manufacturer 
has to contend with. He figures upon plans and 
makes prices often far enough in advance, but 
after long delay either the decision must be finally 
to use stone or the material that can be had 
quicker, or the order is given so late that the 
manufacturer has not time to do his best work, 
and is constantly importuned to rush everything. 

Too much emphasis cannot be laid upon the im¬ 
portance of placing the order for all building ma¬ 
terial a safe time in advance—for special face brick 
or terracotta four to eight weeks before needed. 



64 


IRoofmcj TTile 


Clay tile make the most artistic and picturesque 
of all roofs, and possess a durability, when prop¬ 
erly made, that greatly exceeds any other roofing 
material. The great range in color and shade 
that is possible enables any color scheme to be 
carried out; while the very attractive red shades, 
which are the most popular, do not fade out like 
slate. They are made in a variety of designs that 
range from simple dignity to very ornate, bold 
suggestions, that give decided character and in¬ 
dividuality to the roof. They are thoroughly fire¬ 
proof, and do not decay or rust out like wood or 
metal, nor require repainting or staining like tin 
or shingles. 


REQUISITES OF A GOOD ROOFING 

TIDE. 

Roofing tile should absorb only a small amount 
of water, or less than io per cent in a 24 -hour 
test, to be absolutely safe from frost disintegra¬ 
tion. The exposure on the roof is so severe, being 
subject to the most violent extremes of tempera¬ 
ture, that a hard-burned tile only should be em¬ 
ployed to ensure a low absorption and a high 
durability. The tile should be reasonably true 
and straight and free from checks or cracks. 


65 



INSTRUCTIONS FOR LAYING ROOF¬ 
ING TIUE. 


As roofs require to be constructed to carry a 
load of 40 to 60 pounds to the square foot to 
safely withstand wind and snow loads, this is 
ample to carry tile, which weigh from 8 to 11 
pounds per square foot (slate, the cheaper sub¬ 
stitute, weighs 7 to 9 pounds per foot). Tile 
should be laid on close sheathing so that felt can 
be used under the tile to render the roof wind 
tight, otherwise fine dry snow is liable to work 
through the joints. The tile should be secured by 
galvanized or tinned nails, two nails to each tile, 
and the hip-rolls, cresting and finials should be 
bedded in Portland cement—stained. 

The shingle design of tile are the simplest to 
lay, and any roofer or good carpenter can lay 
them. The more complex art tiles, like the Span¬ 
ish, French, Celadon, etc., should only be laid 
by an expert tile roofer, to secure proper fit and 
alignment. 

Tile are like slate or shingles in requiring at 
least one-quarter pitch to be weather-proof, while 
to appreciate their beauty and attractiveness the 
pitch should not be less than one-half, and steeper 
on ornate buildings. 


66 


& JBttcft KBonfcmg 


The stability of brick walls depends much upon 
the bond—that is, the arrangement of the bricks 
adopted for tieing all parts of the wall together 
by means of the weight resting on the bricks. 
Foreign experts who have examined the brick¬ 
work in this country criticise us quite severely, 
but perhaps justly. They say we make the best 
brick in the world, and lay them the worst. In 
this latter they refer to the quality of the mortar 
used as well as the bond. In both of these, how¬ 
ever, there is a manifest tendency towards im¬ 
provement. Rapidity and cheapness of construc¬ 
tion have been the governing considerations in 
much of our building. We are coming to see the 
instability and wastefulness of some of our 
methods, and are changing to others that give 
more durable and permanent results, even though 
the first cost may be more. 

It is yet too common, however, to see a brick 
wall being laid a single course of stretchers on 
the outside five or more brick high, then a single 
course of stretchers on the inside and then the 
center filled in with brick in any convenient man¬ 
ner, the mortar being poor in quality and the 
brick being only partially imbedded in it. More¬ 
over, to suit the convenience of the contractor 
in setting frames, joists or stone, or while wait¬ 
ing for these materials, parts of the wall are 
often run up above the rest, to which they are 
not afterwards properly tied. 

67 



COMMON BRICK BOND 


Common brick walls should be run up so as to 
keep all courses of brick level around the whole 
building, and to accurately preserve the bonding 
throughout the thickness and length of the wall. 
The strongest bond for common brickwork is un¬ 
doubtedly the English bond, which consists of 
alternate courses of headers and stretchers, though 
for a wall 12 inches or more in thickness the 
Flemish bond, which consists of alternate headers 
and stretchers in every course, every header being 
immediately over the center of a stretcher below, 
is altogether the best bond and makes the best 
appearance on the face of the wall. 


FACE BRICK BOND. 

Where pressed brick are used for facing, the 
Flemish bond is the best, though it is not always 
practicable by reason of the improper difference in 
thickness of the common and pressed brick, and 
by reason of the increased cost from the larger 
quantity of pressed brick required. Neither of 
these difficulties, however, are as important as 
they are often represented, and should in most 
cases be overcome. 

Most of our face brick are laid in what is known 
as the plumb bond, or sometimes the American 
bond, consisting of all stretchers with the joints 
in alternate courses exactly plumb over each other. 
The bonding to the wall is accomplished by the 
chipping off of the back corners of the face brick 
in every sixth or seventh course and laying 

68 


diagonal headers of common brick behind. Some¬ 
times the face brick are tied to the common brick 
by means of metal wall ties, of which there are 
several styles on the market. Sometimes a spe¬ 
cial brick, 8 x 8 , made by the face brick manu¬ 
facturer, is used for the bonding of face brick to 
the wall. It remains true, however, that where 
the standard size 4 x 8 brick are used the Flemish 
bond is much to be preferred, not only because 
it really is the strongest bond, but because it re¬ 
lieves the monotonous effect of the uniform 
courses of stretchers. 



69 


& /JDortar > * * & 


A few facts in regard to the preparation of 
mortar for brick-building should be more widely 
distributed. In this country the mortar is usually 
prepared at the building, and not enough atten¬ 
tion is given to this important element, upon 
which depends so much of the strength and dura¬ 
bility of the brickwork. It is said that in some 
countries of Europe much of the mortar for all 
purposes is prepared by machinery in factories in 
charge of specialists, and it would seem that in 
this way a uniformly good product could be in¬ 
sured. 


LIME MORTAR. 

Brick, especially in building construction, are 
generally laid up in lime mortar. The quality of 
lime mortar depends upon— 1 st. The quality of 
the lime and the manner of slaking. 2 nd. The 
quality of the sand. 3 rd. The proportions of lime 
paste and sand and the thoroughness of the mix¬ 
ture. 

LIME. 

Good lime is characterized as follows: 

1. Freedom from cinders and clinkers, with 
not more than 10 per cent of impurities. 

2 . In hard lumps, with but little dust. 

3 . Slakes readily in water, forming a fine, 
smooth paste, without any residue. 

4 . Dissolves in soft water. 


70 



SLAKING. 


To slake lime for mortar place the lumps in a 
layer 6 or 8 inches deep in a water-tight box, and 
pour upon the lumps a quantity of water 2% to 3 
times the volume of the lime. Too much water 
reduces the slaked lime to a semi-fluid condition 
and thereby injures its binding qualities. On the 
other hand, not having used enough water in the 
first place the addition of more after the slaking 
has well progressed and a portion of the lime is 
already reduced to powder, chills the lime and 
renders it granular and lumpy. The lime should 
not be stirred while slaking, hence it is better to 
put a part of the water in the box first. 

Lime should be slaked at least one day before 
it is incorporated with the sand. Lime paste can 
be kept an indefinite time without deterioration 
if protected from contact with the air. 

SAND. 

Sand for mortar should be sharp, clean and 
coarse. 

Sand should be sharp —i. e., the grains should 
be angular, because angular grains are rougher 
and the lime or cement adheres to them better, 
and because angular grains offer greater resistance 
to moving one on the other under compression. 

Sand should be clean for the strongest mortar, 
since an envelop of loam or organic matter about 
the sand grains prevents the adherence of the lime 
or cement. 

Sand should be coarse, since coarse sand takes 
more lime or cement and makes the strongest 
mortar. 


7i 


Sharpness of sand can be determined approxi¬ 
mately by rubbing a few grains in the hand, or, 
better, by examining it through a small lens. 

Cleanliness of sand may be judged by pressing 
it together in the hand while it is damp; if the 
sand sticks together when the pressure is removed 
it is unfit for mortar. Or the cleanliness may be 
determined more accurately by washing. 

Coarseness of sand is accurately tested by pass¬ 
ing it through sieves of different mesh. 

Specifications are generally not definite enough 
for the best work, as they rarely go further than 
simply: “The sand shall be sharp, clean and 
coarse.” 


MIXING LIME MORTAR. 

The mixing of mortar is a simple process, but 
is often done poorly through the ignorance or 
carelessness of the workman. The volume of lime 
paste in common mortar should be but slightly in 
excess of what is sufficient to coat all the grains 
of sand and to fill the voids between them. This 
generally requires a proportion of 2 y 2 to 3 vol¬ 
umes of sand to 1 of lime paste. The sand is 
spread evenly over the paste and the ingredients 
are thoroughly mixed with hoe or shovel, a little 
water being added occasionally if the mortar is too 
stiff. 

Lime mortar will not set when excluded from 
the air; hence it is not fit for thick walls, nor for 
masonry construction under water or in soil that 
is constantly wet. For such uses or for structures 
requiring great strength or subject to shock, ce¬ 
ment mortar should be used. 


72 


* * > * Cement ^ 


Cements do not slake or break up like lime, and 
their paste sets very quickly in air or water. They 
are of two classes: 

1. Natural cements. 

2. Artificial cements. 

Natural cements are made from rock or marl 
in its natural state without the addition of other 
ingredients. 

Artificial cements, of which the most useful is 
Portland cement, are made from an artificial mix¬ 
ture of materials, containing from 75 to 80 per 
cent of carbonate of lime and 20 to 23 per cent of 
clay. 

The rock or substance of both natural and arti¬ 
ficial cements are burned in kilns specially con¬ 
structed for the purpose, and the calcined product 
is then pulverized. 

Natural cements are calcined at a lower tem¬ 
perature than Portland cement. Natural cements 
weigh about two-thirds as much as Portland ce¬ 
ment, set quicker and have less ultimate strength. 

TESTING CEMENTS. 

Natural as well as Portland cements from dif¬ 
ferent factories, or even from the same factory, 
vary greatly in quality owing to difference in the 
materials and the care exercised in their manufac¬ 
ture. Hence a knowledge of cements and the 
methods of testing them must form a part of the 

73 



education of every architect and engineer. Only 
a few brief directions can be given here. Cements 
are tested for color, fineness, time of setting, 
tensile strength, constancy of volume, proper burn¬ 
ing, etc. 

Color of cement indicates very little of its 
quality, though variations in shade of any given 
brand may indicate difference in quality. In 
Portland cement gray or greenish gray is gener¬ 
ally considered best—bluish gray indicating a 
probable excess of lime and brown an excess of 
clay. 

Fineness is an important quality of cement— 
the finer the powder the better it will surround 
and cover the sand, the more sand can be used, 
and hence the greater economy. 

Time of setting is often a valuable test for 
special work. Cement is said to be set when it 
resists the impression of the finger nail, or has 
lost its plasticity and cannot be moved without 
fracture. 

Tensile Strength is the most important test of 
cement. This test is generally made by those who 
have a technical knowledge of the subject and 
special apparatus for the purpose, though the Fair¬ 
banks Company make special testing machinery 
for this purpose that can be used by anyone. 

The test for proper burning is one that should 
be made daily at the factory by a determination of 
the specific gravity. The specific gravity of nat¬ 
ural cement varies from 2.75 to 3.05, and of Port¬ 
land cement from 3.05 to 3.17. 

For constancy of volume , for some uses an im¬ 
portant quality, the boiling test is used. By this 

74 


test is detected excess or deficiency of lime, excess 
of magnesia, under burning, etc. 


CEMENT MORTAR. 

For ordinary use in small quantities cement 
mortar should be mixed about as follows: 

Spread about half the sand required evenly over 
the bed of the mortar box and then spread the 
dry' cement evenly over the sand, and spread the 
remaining sand on top. Thoroughly mix the dry 
sand and cement with hoe or shovel. When thor- 
ougly mixed, the color will be uniform through¬ 
out. The dry mixture should be shoveled to one 
end of the box and water poured in at the other 
end. The dry mixture is then drawn down with 
a hoe, small quantities at a time, and mixed with 
enough water to form a thick paste. Natural ce¬ 
ment requires more water than the Portland, and 
the fresh ground more than the stale. An excess 
of water is better than a deficiency. 

The proportion of sand should vary according 
to the kind of cement and the kind of work for 
which the mortar is to be used. For the best re¬ 
sults the cement paste should be just sufficient to 
coat the grains and fill the voids of the sand. For 
natural cement the proportion of sand to cement 
by measurement should not exceed 3 to 1, or for 
first-class work 2 to 1. Portland cement mortar 
may contain 4 of sand to 1 of cement for ordinary 
mortar; 3 to 1 for first-class mortar. 

Always use clean water. Cold water retards 
setting; hot water hastens this action. Quick-set¬ 
ting cements require more water than do slow- 


75 


setting brands, and finely ground cement more 
than those that are coarse ground. 

“Natural cement mortar in 12 months is about 
equal to Portland cement mortar in 1 month.” 

Portland cement attains its greatest strength in 
water. Natural cement attains its greatest 
strength in air. 

LIME WITH CEMENT. 

The addition of lime to cement is recommended 
by the Association of German Portland Cement 
Manufacturers when the work is not to be done 
in water or wet ground. The substitution of 10 
to 20 per cent, of lime paste for an equal volume 
of the cement paste does not materially decrease 
the strength of the mortar and gives it greater 
firmness and more rapid hardening. The econ¬ 
omy of using lime with cement is greater with 
Portland than with natural cement, owing to the 
greater cost of the former. 

The mortar for the “ordinary brickwork” of the 
United States public buildings is composed of “one 
fourth cement, one-half sand and one-fourth 
lime.” 



76 


* Mortar tor face Brick 


Mortar for laying face brick should be specially 
prepared from lime putty and finely screened sand. 
For white mortar the sand should be white. Mor¬ 
tar for face brick should contain more lime than 
that used for the interior of the wall. 

COLORED MORTARS. 

Colored mortars are now generally employed 
for the laying of face brick. The proper color to 
use for a given colored brick is a question often 
asked of the brick manufacturer, and though this 
is a point that should be determined by the archi¬ 
tect, yet a few observations may be pertinent. 

The effect of using different colors of mortar 
joints upon the same shade of brick is so marked 
as to give the impression that the brick are not 
of the same shade. 

With rough, common brick a mortar joint of 
nearly the same color of the brick is often used 
so as to conceal defects of the brick or of the lay¬ 
ing, or sometimes to get the effect of a mass of 
color by concealing the joints. This practice, how¬ 
ever, cannot be commended for fine face brick— 
the effect being too much that of a painted wall. 
The other extreme, also, of a mortar color strongly 
contrasting with the color of the brick so as to 
emphasize the joints should be condemned. The 
very white joint with a bright, deep red brick has 
the sanction of long years of use before other 


77 



colors, either of brick or mortar, were to be had, 
but the practice cannot be supported upon aes¬ 
thetic grounds. 

If the question of color of mortar is capable of 
being reduced to an artistic standard, and yet al¬ 
low sufficient variation for individual taste, it 
would seem that the contrast between the color of 
the brick and the color of the joint should be just 
sufficient to give prominence and character to the 
brick, to bring the brick in the foreground, with 
the joint in the background. Thus the mortar 
joints should be somewhat darker than the brick, 
though a pure black mortar should be seldom, 
if ever, used. 

Colored mortar should never be made with fresh¬ 
ly slaked lime, but only with lime putty at least 
three days old. The color should be thoroughly 
and evenly mixed with the putty before the sand 
is added. 


THICKNESS OF MORTAR JOINTS. 

Common brick should be laid in a bed of mortar 
at least 3-16, and not more than 3-8, of an inch 
thick; that is, the joints should be as thin as 
will insure a uniform bearing and allow rapid 
work in spreading the mortar. Since common 
brick are somewhat rough and uneven, it is often 
specified that the height of 7 courses of brick laid 
in wall shall not exceed by 2 inches the height of 
7 courses of the same brick piled up without mor¬ 
tar. Every joint and space in the wall not occu¬ 
pied by other materials should be filled with mor¬ 
tar. 


78 


Face brick are generally of uniform thickness 
and true and even, so that they can be laid with an 
1-8 inch joint if desired. The 1-8 inch joint, how¬ 
ever, is not used nearly so much as formerly since 
a thicker joint is considered better for strength 
and beauty. The usual specifications for face 
brick of standard size is a joint 3-16 inch thick, 
and for Roman size 1-4 inch thick. Thicker joints 
are sometimes used for special effects. 

STRIKING THE JOINTS. 

The appearance of the brickwork is affected a 
good deal by the manner of striking the joints, 
and this should always be clearly specified. 

For outside walls and inside walls, where the 
brick are left exposed, the joint should be struck 



Fig. 1. 


Fig. 2, 


as shown in Fig. 1, not as in Fig. 2, though the 
latter, unfortunately being easier to make, is more 
common. 

FACE BRICK JOINTS. 

Face brick joints are struck more carefully, gen¬ 
erally in manner illustrated in Figs. 3, 4 and 5. 



Fig. 8. 


Fig. 4 


Fig. 5, 


79 










The joints are well filled and then raked out 
and pointed or finished when several brick have 
been laid. 

The beaded joint, Fig. 4, cannot be commended, 
though it is often used. The fluted joint, Fig. 3,. 
is more artistic and durable. The recessed joint, 
Fig. 5—joint about 14 to % inch thick and raked 
out 14 to % inch from surface of wall—gives a 
very artistic effect and gives the character and in¬ 
dividuality seen in some European brickw*ork, but 
should be used only with first-class brick and 
mortar. 


PANEL BRICK. 

Face brick are sometimes made with a panel sunk 
into one side of the brick, to be laid uppermost 
to give a better key for the mortar. This is a 
desirable feature, but manufacturers do not make 
such brick, because if they are not specified the 
contractor will not buy them. 

WETTING BRICK. 

Much poor brick work is caused by the brick 
being laid too dry. Most brick, especially 
common brick, absorb water from the mortar so 
rapidly that the mortar will not set properly. 
There is little danger from common brick being 
too wet, but as the wetting of the brick takes labor 
and makes it harder on the hands of the mason, 
the wetting is often neglected, unless insisted upon 
by the architect. 

Face brick being more dense and harder burned, 
do not need so much wetting. In fact, if they are 

80 


soaked in water there is a danger that certain 
salts in the brick may be dissolved, and upon evap¬ 
oration, be brought to the surface, disfiguring 
the wall by the unsightly efflorescence. A face 
brick should be wetted by being immersed in water 
and immediately removed. 


LAYING BRICK IN FREEZING 
WEATHER. 

Brick should never be laid when the tempera¬ 
ture is below freezing. When it is necessary to 
lay brick in freezing weather the wall should be 
enclosed in a temporary structure, so that the mor¬ 
tar can be kept from freezing. This precaution 
is generally disregarded, but is now insisted upon 
by the best architects. 

The top of a brick wall should always be pro¬ 
tected at night, or when left, so as to prevent rain 
from washing the mortar out of the joints and 
staining the wall, and also to prevent the face 
brick from being soaked with water and efflor¬ 
escing. 


CLEANING DOWN. 

Soon after the walls are completed the facing 
should be washed and scrubbed with muriatic acid 
and water until all stains are removed. At the 
same time all open joints should be pointed and 
the entire wall put in perfect condition. 


j* ^Efflorescence & & 


The most objectionable feature of pressed brick 
facings is the disfigurement that often occurs from 
the mineral salts that have been dissolved out of 
the brick or mortar by the water they have ab¬ 
sorbed, and that, upon evaporation of the water, 
are deposited in minute crystals upon the surface 
of the wall. On red brick this efflorescence is 
white, while upon the cream, buff and white brick 
the efflorescence is orange or green. 

The white efflorescence has been analyzed many 
times and shown to be mainly sulphate of lime, 
magnesia and alkalies. The green efflorescence, 
however, which is not so abundant nor so injuri¬ 
ous to the brick, is not so well understood as to 
its composition and origin. German chemists, 
notably the late Dr. Seger, have investigated this 
efflorescence thoroughly and found it to be a salt 
of Vanadium, principally vanadiate of potassium. 


CAUSE AND PREVENTION. 

The origin of this troublesome efflorescence is 
generally in the clay itself, which contains among 
its impurities more or less of these sulphates or 
their bases, the sulphur coming in the process of 
manufacture from pyrites either in the clay or in 
the fuel, or in both. Sometimes, however, the 
efflorescence may be due to sulphates in the 
mortar. 


82 



Where the source of the trouble is in the clay, 
it can be prevented by special care in the process 
of manufacture—in the preparation of the clay 
and in the drying and burning of the brick. 

There is no danger from efflorescence in prop¬ 
erly made brick, if the brick have not been soaked 
with water before laying or during the laying, or 
if the construction of the walls is such as not to 
allow the brick to receive only the water that 
rains upon their exposed faces. 

Beware of leaky sills and cornices. 

Use A grade SHAWNEE BRICK, which are 
properly made and burned, and are practically 
impervious. 



S3 


jM 2>ata for Estimates > j* 


ARCHITECT’S FEES. 

Many architects have their own special rates for 
service. The American Institute of Architects 
have adopted the following schedule of minimum 
charges: 

For full professional services (including super¬ 
vision), five per cent, upon the cost of the work. 

For partial services, or in case of the abandon¬ 
ment or suspension of the work the charge is as 
follows: For preliminary studies, individual or 
competitive, the rate is equal to 2*4 times the 
square root of lowest cost; preliminary studies, 
general drawings and specifications, 2 x k per cent, 
of cost; preliminary studies, general drawings, 
specifications and details, 3j4 per cent, of cost. 

For works that cost less than $10,000 a special 
rate in excess of the above. 

For alterations and additions, an additional 
charge to be made. 

Necessary traveling expenses to be paid by the 
client. 

NUMBER OF BRICK REQUIRED. 

A wall built of common brick, standard size 
(2 I / ix8%x4), with mortar joints % inch, will re¬ 
quire for every square foot of outside superficial 
area: 


84 



7 bricks for a 4-inch wall 

14 bricks for a 8-inch wall 

21 bricks for a 13-inch wall 

28 bricks for a 17-inch wall 
and so on, or about 450 brick for every cubic yard 
of masonry. 

The estimate for face brick is about 754 brick 
for each foot of superficial area, the size of the 
brick being 2^x8^ x 4, with 3-16 inch joints, 
the brick being laid up in American bond. 

For Flemish bond there will be required a little 
less than 10 brick per foot, but, of course, 2^2 of 
these brick will take the place of an equal num¬ 
ber of common brick. 

In making estimates of the number of brick re¬ 
quired, allowance must be made for breakage and 
for waste in cutting. In buildings about 3 per 
cent. should be allowed for common brick and 5 
per cent, for face brick. 

TERRACOTTA. 

Not much assistance can be given in estimating 
the cost of terracotta, as so much depends upon 
the character of the ornamentation and how 
much the same design is repeated, and upon the 
distance from the factory, etc. Stock patterns 
from the face brick manufacturer or from the 
terracotta manufacturer can be obtained at a 
much lower cost than the same ornamentation in 
stone. “Single pieces or plain sills and lintels cost 
about the same as stone, when the rough stone 
can be delivered at a price not exceeding 90 cents 
per cubic foot.” 


85 


ROOFING TILE. 


The cost of tile will vary largely,as in brick or 
terracotta,with the design, quality, distance from 
factory, etc., and ranges from $5.00 to $25.00 per 
square at the factory. The cost of laying tile will 
vary from $2 to $5 per square for labor for the 
simple designs to $6 to $12 for the more ornate 
tiles. Nails, felt, cement and flashings will re¬ 
quire from $1 to $5 additional. The more the 
roof is cut up by gables, dormers, towers, etc., 
the greater the cost in cutting, fitting, etc. Special 
tile are made to fit the taper on round towers, 
and for the convex surfaces of domes, etc. 

The total cost of roofing tile laid complete on 
the roof will, therefore, vary according to local 
conditions, design and quality of the tile, from $10 
to $50 per square, though a good grade of shingle 
tile can usually be laid for about $15 per square 
on ordinary roofs. 

LIME MORTAR. 

A cubic yard of brick masonry will require 
about one-third of a cubic yard of mortar, or it will 
take about three-quarters of a cubic yard of mor¬ 
tar to lay a thousand brick. 

To make a cubic yard of mortar requires about 
one barrel of unslaked lime, weighing about 230 
pounds, and about one ton of sand. The volume 
of the resulting mortar is about equal to the vol¬ 
ume of the sand alone. 

So there should be estimated to lay a thousand 
brick about 175 pounds of unslaked lime and about 
1,600 pounds of sand. 


86 


CEMENT MORTAR. 


It will take about two barrels of Portland 
cement, weighing about 375 pounds each, and 
about .85 of a cubic yard of sand to make one 
cubic yard of Portland cement mortar. 

There will be required for first-class work 
about two and three-quarter barrels of natural 
cement, weighing about 300 pounds each, and 
three-quarters of a cubic yard of sand to make one 
cubic yard of natural cement mortar. 

Calculating half of a cubic yard of mortar to 
one thousand brick, it will require for each thou¬ 
sand brick about one barrel of Portland cement or 
one and three-eighths barrels of natural cement 
and half a ton of sand. 


MORTAR COLORS. 

For staining mortar for 1,000 brick there will 
be required about 
50 pounds of red color, 

40 pounds of Buff or brown, 

30 pounds of black. 



< 

> ( 

87 


t 


prices of Sbawnee JSrlcfe 


The prices given in this catalogue are for each 
brick at our works. 

Small quantities, in less than carloads, ordered 
shipped separately must be packed in barrels. 

For barrels and packing an extra charge of 35 
cents per barrel is made. 

All Arch Brick are packed in barrels or boxes 
without extra charge. 

Brick selected for Mantels, 1 cent each additional 
to price in catalogue. 

On shipments of less than 20 barrels drayage 
must be charged. 

The minimum Carload of brick east of Chicago 
is 40,000 pounds, about 7,000 brick. 

It is generally cheaper to ship 2,000 or more 
brick as a carload than to pack and ship in barrels. 






©be ©bio 

flbtning anb flDanufactunng ©o., 


THE PUBLISHERS OF THIS LITTLE 
BOOK, ARE THE MAKERS OF THE 

SUPERIOR 

Shawnee Brick 

For Exterior and Interior Facing, Mantels, 
Floors, Etc., in a variety of Artistic Shapes 
and colors, as described in the preceding 
pages. 


THEIR WORKS ARE AT 

Sbawnee, ©bio, 

ON THE BALTIMORE & OHIO AND THE COLUMBUS 
SANDUSKY & HOCKING RAILWAYS. 

THEIR OFFICE IS AT 

156 ffit'tb avenue, IRew 1Jori;. 


Their Brick can be seen in the Facing of 
some of the finest Buildings in this Country. 
They have agencies in all the principal cities 
and are always pleased to submit samples 
and prices to architects and builders. 

89 


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^ copy received 

SEP 26 1900 






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